Thank you, thank you please.
Oh you're too kind, I'm
I'm just like you, I'm
just a normal person all
I wanna say is, it's the...
S-101 300 Watt from...
Neewer.
It's really bright.
First off this little
white box contains
the modelling lamp and let’s
just get the rest of
it out… Better you can
Removing the protective cover from
the strobe, screw in the
modelling lamp, around the outside
is the main flash
strobe bulb thing
That’s the technical term.
Icluded Bowens mount reflector I can confirm it
is a full-size bowens mount so it’ll
take any of your Bowens
modifiers, and the kettle
lead to provide Power. That’s
the thing that
makes this predominantly and indoor unit.
You need mains power. Now obviously
there are solutions to
get portable mains power with
a high capacity Powerbank but yeah, this
is designed for
indoor/in studio
use. The test button works fine.
To er….test. One thing that
was a little alien to me is the power
up and down buttons are on the
opposite sides to what I was expecting.
Left is up and right is down. No
biggie but worth noting as it meant
I kept switching it the wrong way when
it was rigged as, at least with the setup
I have here with what came out of the box
and what I had lying around
(more about that in a minute)
there’s no way to adjust the power
output remotely. There's no way
to adjust the power output remotely
actually checking out
this modelling lampless
just kill that light behind me.
If you look on the back,
it might be a little
bit out of focus, but if I press on the
model lamp model button that will.
Tell him the modelling.
Lamp an when you test or when it fires.
It does what a modelling language
do, but you can actually change
the temperature of the modelling lamp.
So if you hold down the model
button for three seconds,
as you can see, it's flashing
their to L 9, so I'll 9
is the warmest and L1 is the coolest.
It's not actually, I don't know.
It says that its coolest and warmers, but
I personally think that
it's not actually
affecting the core temperature.
I personally think
it's changing the brightness.
Of the bulb coz.
Yeah.
Mean either way?
I mean, it doesn't
really matter with the modelling lamp,
because you're not actually
getting white bounds off the
modelling lamp, but it
just changes the brightness, which
is no biggie, but just know that L 9
is the brightest and L1
is the dimmest the recycle rate
of the actual flesh itself,
although not really fastener for bursting
is pretty quick even on full power
when you do understand a portrait,
although that's going to make
it a little bit difficult for what I have
set to test up here in The Cave.
Remember that coffee?
Let's get a shot of it, but First off.
Let's get set up.
I haven’t actually done an update
on the space with
all the changes we’ve made
in the last year or so but
here’s our new product photography
setup. No more small
rolls of paper, gaffa taping it up
on the wall. Simply, two
collapsible saw horses, an
Ikea worktop which used
to be my desk and a
speed roller with
white paper. Love it. Couple
of Neewer clamps to secure the paper
on the worktop….we do
have a lot of Neewer’s stuff…and
we’re all set up. On to the
stand and yep, you guessed it, it’s
one of the C-Stands from
Neewer, hardly moves when the
strobe is added and then, it’s
on to how to trigger the flash from
the camera. Now you CAN run this
in Slave mode so it will flash once
it detects another flash going
off but we’re looking for
just one single source as
I’ll explain about
the shot we’re looking to
get in a minute. So thankfully I played
with off camera flash a while back
and got myself a set
of really cheap but effective triggers.
Guess who makes them?
So whipping out those, popping
in some fresh batteries and
making sure they’re
on the same channel and…
That works…on to the sony
A7iii to be triggered
by the hotshoe and… Cracking…all set up
and ready to go. And seriously,
it really was that simple to
get that, triggering...
it's off camera there you can't see
it really, really simple getting
that triggered by
just those nice little cheapy triggers.
Seriously, it really does work a treat.
Apologies for the poor
lighting and the bad
audio, but as you can see
I'm all set up here.
I've got the S101-300W up on
one of Neewer's C-stands
and the standard reflector on there.
And the setup I've got here is
I want to
get a really, really harsh shadow going
across the cup or coming
out from the cup.
I also want to get a splash in there.
As you can see I've got this tethered
up to the computer and let's see
if we can get this all set up right.
There's my little grape because
I don't have a don't have a sugar cube.
In shot, right now I want to
get the focus and then
I'm going to speed
up the shutter speed so slow
it down 1st and let's grab focus.
Grab that, then switch
it to manual focus, so that's
my shot right there.
Let's speed it up.
Take I'm on F-11 coz
I want everything in focus.
Let's take it up to...
a hundreth of a second.
Let's see how that comes out on screen.
That doesn't look too bad.
May little bit overexposed.
See if a 200th of a
second will actually bring
in the shutter a little bit too fast.
You should see a little bit of shutter at
the top as the shutter
is getting out of the way
when the flash is fired, yet
just a little bit there, so let's creep
it back down to 160th and fire it off.
There you go okay, so yeah,
I will work with that, so
I'm going to take this grape.
I'm going to try and time it.
Perfectly if I do a
burst on this it will get
it, but the flash
won't fire at the same time.
So here we go.
This is the fun bit.
Ready 321.
Phone.
So straight into
Lightroom and out of
all the images that took
these six are the
ones I'm going to play with.
So there's my clean,
no nonsense version.
Then I've got this one.
I started to get a fringing
over the top here.
Think it may have been the shutter
speed was little bit too
fast, but will try and rectify that.
As you can see here as
well, but cycling through
you can see that I did get quite a few
splashes and the last one.
I just went all out and
I must have kicked the camera
at some point because
between 5:00 and 6:00.
There's a movement
there, but will sort that all out.
Sinks all those up.
I've selected the first
one, select the M1, right click
an edit in Photoshop
O we're going to start with this one
and this is going to be my base,
so double click the background
and then lock it.
That one O that's not moving at
all can't move it at all, and we're
on to the next one that
actually does nothing, so
will get rid of that one.
That's one less image to worry about and.
I'll get that one.
I want that little bit of a splash first,
so double click that.
This is kind of turned
into a little bit of Photoshop tutorial.
Didn't really mean that,
but let's go for that One South.
Loving that.
The only thing I
actually want in this shot of
the fat splash really on there.
So I'm going to select a
layer mask, clipping mask, layer mask.
There you go.
That's what it's called
and Black removes.
And White brings it back.
It's really quite simple
at once you've got a layer
mask and you've got the layer
mask selected in there.
Just go to your brush tool.
And toggle between black and white.
So right click and
Alt will change the size
left or right is the actual size.
Up and down is the harshness.
Welcome for the tutorial.
However, there are hella lot better
people are doing
tutorials and me, although
I should be against Charles I
like doing tutorials so I'm
just brushing this round very
very haphazardly.
Just want that splash inside the Cup.
In fact, the air.
The Cup is a little bit dark from
there as well, so I'm just going to dive
in there a little bit take up.
Add softness so down the
hardness and just feather
that around a little bit.
In fact that looks like
it's a little bit out of.
That's a little bit out of
alignment, isn't it?
It's not quite the same, so
I'm just selecting the actual
image and justice using my cursor.
That's no, that's not right, that is.
That lines up nicely,
cracking back to my layer
mask back to my brush.
And yeah, that's working right so.
Just stop it too soft.
Now stay around there an okay.
So that is the first start.
So that's without and that's with zero.
That is that one.
So I'm going to get rid of that.
Don't need it.
This is actually are going to
affect when we go back into Lightroom
when we save it,
it's actually going to
affect this first
image, but it will create
a virtual copy, so it's nondestructive
onto the next one.
It's a nice splash and I like
I like a few of these round
here, so definitely going to use that.
So let's do the same as before.
Control C control fi.
I'm going to lock this one as well so
I don't accidentally do anything again.
Same layer mask and
probably speed this up to be honest.
Let's bring that back
into Lightroom, and
there's our composite now.
Something like that with
continuous lighting would
have been really, really quite difficult.
So there you have it.
The S101-300W from
Neewer for your standard in studio,
product photography or portrait shots
I'd say it's pretty much a steel.
And with that said, my name's Adam.
This is musinga man.
Thanks so much for watching.
I'll see you in the next one.